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3

You did say square didn't you? H S S C This way, either way it is read: 1) top, left to right, then bottom, let to right 2) or left, top to bottom then right, top to bottom Your logo will then read HSSC either way! E.G. H S1 S2 C I could read it: H, S1, S2, C or H, S2, S1, C AND EITHER WAY I READ IT HSSC! YAY. If you can only rearrange the ...


2

There are a few rules of thumb, that i know of: gutter width ≈ line spacing gutter width ≈ width of »mii« Too much is a little bit less problematic than too little spacing between columns. These rules should be seen only as a starting point to a proper solution. Sources: Claudia Runk: Grundkurs Typografie und Layout. 2. Auflage. Galileo Press, ...


7

Of course everybody will read in a different way, but when you consider all possible combinations, you can still find out which has the highest probability of being read in the right order. Since we read from left to right and top to bottom, we can rule the right and bottom quarters out as starting points. Here are the possible reading orders: Since two ...


2

Like Scott said, his brain read it as HCSS, so did I. I would read it as HSSC if you put H on top, then S S then C H H S S C S C S First one Makes S's appear in the center. Just to be sure I'd ask people around me if they read it as HSSC, I'd be happy!


-3

What about any of the below arrangements?


2

I don't know if there is a particular reason to have the letters in 4 sections, but you could consider something like this to make it unambiguous: The elipse could even be shadded or raised or have some other effects added.


11

It doesn't matter what you do. Some will always read them in a different order. The brand should include use of the company name in some locations so that, eventually, the public gets used to thinking H-- S--- S--- C---. As you can see HERE the order is largely irrelevant and makes no sense until the actual name of the company is included. I, personally, ...


0

following a style guide for documents like this will work wonders here. i'm actually really surprised no one's mention the Chicago Manual of Style, or another yet http://en.wikipedia.org/wiki/The_Chicago_Manual_of_Style


2

The easiest way to slice the text up which I think is what you are having trouble with is fairly simple: Create your text. Expand your text (Appearance and Expand fill) Select all letters and create compound path, and then make a copy. Create multiple rectangles that cover the width of the text, sitting side by side (do not group). Lay them over the text. ...


5

That is just a straightforward use of the Letraset Shatter font (or a clone of it). Shatter is based on Helvetica (obliqued, rotated left, then sliced and displaced if you want to create the effect manually - something that's immeasurably easier with a computer than it was with rub-down lettering and an X-Acto knife); there are similar fonts available (at ...


4

By baseline, I'm assuming you mean leading or the baseline grid? ...Because the baseline on its own is just where the type sits, there's no measure that I can think of for a single baseline. If you take into account the gestalt principles of proximity, you would want the gutter to look larger than the leading so that people's eye flow to the next line in ...


2

From my experience you can't make them part of the same thing. Put the headline where it should go according to the design of the page, put the copy where it should start according to design and space constraints, and establish the grid from there. A grid is meant to be a guide, not a jail. There will always be items you have to judge by eye because the ...


5

"Weight" is highly subjective. The designer typically designs a 'regular weight', which would be '500' in the TTF units. After that, a lighter design gets a lower number and a darker design the higher number. The full range of 100..900 is to cater for everything from Ultra Light to Extra Black. Thus, the value only 'means' something in relation to lighter ...


1

Quark Convert? ;-) In InDesign these are called "Paragraph Styles". This functionality is not built into InDesign, but it can be done using scripting. In fact, it has been done; see, for example, http://indesignsecrets.com/print-out-style-sheet-specs.php. The download link gives you a .zip file. Extract it, which will give you a folder called 'TSRC2' (when ...


0

No rigid rules govern the arrangement of preliminary matter, although publishers routinely develop a house style for its sequence based on the sorts of publication they produce and the combination of preliminary matter common to them. Books in a series should have a consistent order, and those on a single list or subject tend to. Main Components of Front ...


7

No, usually not. This is a legacy of hardbound binding; these extra pages were glued to the cover and the inner pages, and do not count as "inner" pages. For a paperback, you don't need to explicitly add them. The page with the half-title is sort of a connector between the cover itself and the inner pages. Its use is (historically) to protect the real title ...


1

I'm surprised no one has mentioned hamburgefons, a word which was used in type samples of the 70s and 80s by some of the big foundries. It was what I was taught to use in my two type design courses. The fact that it looks like a legible word even if it's not gives you a good feel of your font to be and letter space. It also contains most of the basic ...


0

Check out Oswald https://www.google.com/fonts/specimen/Oswald or maybe https://www.google.com/fonts/specimen/Anton good luck


0

This is an interesting question and I can't say that I know a simple black and white term for this phenomenon. However, in this thread (a discussion on the fall of the crossbar on the lowercase 'e' from a slanted to horizontal position in the transition of Humanist to Old Style) it is referred to as an oblique crossbar. A term that I think fits. (Read more ...


0

Wow, the small caps look colossally annoying to my eye. If you have your heart set on them in the middle of a sentence, then go with option 4. Option 3 looks absolutely wrong. Treat "CSS" as a unit and use full caps for the whole thing.


4

There is a simple rule: Each sentence starts with a capital letter. So you should start each sentence with a capital letter. You can rephrase the sentence, if you do not want to capitalise the small-caps-word. (BTW: I think that would be the best, so your (1)). Or You use your (3) with a capitalised first letter.


1

Using a black n white displacement map might get you the distortion effect you want. The principal is explained here: http://www.photoshopcafe.com/tutorials/dispmap/dispmap.htm


3

Set type. Draw a box behind it Select box and type Use the Shear Tool - click once on one side of the box to set the origin, then click-drag at the other side of the box, hold the Shift down and drag up or down. There are a few other methods you could use, from the Free Transform Tool to Type on a Path to Envelopes and transform effects, but this is ...


0

The colon isn't essential, in my view, because you wouldn't use it in a conventional sentence where you ran the bullet points together separated by semi-colons. Bullet points are used to replace semi-colons. To use the example above: (you would use a colon here) When arriving at a convention, you should check in; pick up the welcome kit; and pick up ...


1

The problem with basing it off of font sizes is that it's a mostly arbitrary unit on a web page. By that I mean you may choose a 20pt typeface. But what does that mean? If it's the typeface you spec'ed, then you have some assumption as to how large the characters are, but if the user changes that on you, or they use a different font, or what have you, ...


0

If I understand this correctly, you want a grid based on your font size? I have personally never even bothered with this whole grid system, when designing sites, and I just do things by eye and go for what looks best. I think that if I were to try and base a grid system off of my font size, the best way to go about it would be to use em values instead of ...


6

IMO, that looks like displacement mapping over a photo of stairs -or fabric over stairs?


16

In Illustrator, you can use a Mesh Envelope distort to non-destructively warp text like this: Select your text object, then use Object > Envelope Distort > Make With Mesh... and add however many rows and columns you need to get the desired effect. I used 16 rows and 1 column in my example.



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